Tuesday, February 28, 2012

Lord Wind - Ales Stenar [2012]

Ambient music of any kind is not an area I've paid much attention to, for no better reason than the simple fact that I prefer the immediate thrill and satisfaction of something more structured when it comes to hectic, day-to-day life. Rarely in my free time do I consider listening to mellow, hour long (or more) affairs of instrumental music just for personal enjoyment, and that's a truth I've become disappointed in myself about as of late. Well, I'm delighted to say that Lord Wind's new effort Ales Stenar might just be my spiritual awakening to this sprawling and intoxicating genre of cerebral tones.

To be fair, however, Lord Wind isn't your typical ambient soundscape creator, and it's certainly not even close to the metal realm; no intensity or distortion is at play here. Ales Stenar is simply comprised of ten medieval marches through a calm and inviting setting, with no modern interference or electronic elements to be found. The contents could be a video game or film's soundtrack, and I mean that in the best way possible. Imagine the most epic scene in your favorite movie; that's where this music belongs. It conjures up images of ancient glories. Vikings marching in blizzards, Scandinavian gods ascending the skies, Egyptians treading across wide expanses  of burning sand, etc. You'll close your eyes and see it all under the influence of Lord Wind.

Ales Stenar is a very cohesive, consistent effort, however, so don't expect much variety in terms of pacing or overall sound here. Most of the songs, which are just about equally concise in length, progress in congruent fashion. The formula? Take one simple, rich melody and repeat it in slightly varying ways as faint female voices chant above the caressing cello and violin and slow tribal drums beat below. What may sound like a repetitive, overly bare sound actually creates quite an intoxicating and overwhelming musical embrace, at least for me, anyway. Not one minute after hitting play (and I've pressed play a lot) do I find myself unconsciously swaying back and forth, transfixed by the rhythmic push and pull of these ancient concoctions.

There's just this irresistible atmosphere of royal joy and wonder that never fades for the 58 regal minutes in question. I might have liked to see a more harrowing, tear-jerking moment or two among all the subtle emotional highs, but I can't reasonably fault Ales Stenar for what it is. I'm continually surprised by how functional and relistenable this album is. Doing homework? Check. Reading? Check. Going to bed? Let's just say that if I'm listening to this during the nighttime hours, I always fall asleep with a smile on my face and bright dreams behind my tired eyes. Lord Wind is a vision many will understandably find unappealing and boring (and it should absolutely not be confused with metal in any way), but those looking for an arresting escape from the modern day definitely need to look into this shiny, medieval gem. A treasure as good as gold.

   Overall: 8.75/10 (Great)

Saturday, February 25, 2012

Pharaoh - Bury the Light [2012]

As many already know, American power metal is my favorite genre of all time. Bar none. Of course, when people think of the glorious creation known as US power metal, they don't think of the modern bands that carry the title, and for good reason; the original purveyors of the style from the early-to-mid 80s bore a mystique and whimsical force that simply doesn't exist anymore. Frontrunners like Queensryche, Fates Warning, Crimson Glory, and Savatage brought into the world such flawless creations as Operation Mindcrime, Awaken the Guardian, Transcendence, and Hall of the Mountain King respectively. I hate to spew out elitist statements like 'they will never be topped,' but in this case, it's absolutely true. Unfortunately, the style is dead. It's over. Even the few actually good power metal bands from the US today don't really evoke it. Example? Kamelot, whose best days are in the past anyway.

Pharaoh is another example, except for one thing: their best days are far from behind them. In fact, they've been busy forging a legacy of unfathomable quality for about the last decade, and they haven't even come close to failing in that regard yet. Bury the Light is the band's third practically spotless album in a row, yet another testament to Pharaoh's dedication to bringing all killer and no filler to the modern American arena. Curiously enough, however, their style has less in common with classic US power metal than it does with the New Wave of British Heavy Metal. The Iron Maiden influence is unmistakable as a result, of course, but there are enough distinguishable and unique characteristics to Pharaoh's music that they never come off as a clone or another revivalist wannabe. Instead, they simply deliver a sound that perfectly marries excellent songwriting, aggressive power, and elegant melodies.

Sound like a no-lose situation? That's probably because it is. Bury the Light presents the band in its rawest and heaviest form. At first I thought the rougher production was an out of place disappointment, but then I realized how well it really fits the album. The foundation of Pharaoh is definitely in the guitar department, an area expertly provided by Matt Johnsen. His performance is so consistently sharp and fine-tuned that it continues to dumbfound me that he's the only guitarist in the band. The riffwork is deceptively straightforward, yet there's always these little technical subtleties to his playing that are a joy to slowly unlock from listen to listen. I wouldn't make the mistake of calling this music simple; it's stunningly complex in ways that aren't obvious upon first listen. Don't worry, however; once it clicks for you, it really clicks. The inevitably fulfilling nature of the songs will soon follow.

Of course, a foundation doesn't mean much unless there's true quality to sit upon it, an intangible thing Pharaoh is luckily bursting at the seams with. Tim Amyar is, in my approximation, probably the most committed member to the vision of the group. Want to know why? Because he's not afraid to put his life on the line and himself into harm's way in the process of making this band great; and by himself, I mean his poor vocal cords. And by poor, I'm not referring to the meaning of the word that represents quality. This guy scratches, tears, and maims his throat with every painful note, utterly owning this thing and showing no age in the act of doing so. I really don't know how he does it. I've heard his voice described as 'strained' or 'old' in the past, and I never fail to scoff at such a notion. These doubters don't seem to realize the emotive and enduring qualities of his style, one I'd liken to that of the Primordial frontman. Simply amazing.

The final essential component of this delicious brew is the songwriting. You can probably guess where this going: broad, gleaming generalities, fanaticism galore, etc. Well, what else can I say? Once again, I can't trace any noticeable shortcomings in the Pharaoh ensemble. Bearing a tight but diverse set of songs, Bury the Light brings the heat and the artistic prowess to each and every corner of the tracklisting. There are no highlights, for the entire album is a highlight. Heh, well that's pretty pretentious, so here are some examples. "The Wolves" is the fastest and most over the top song made by the band yet, going almost full-on thrash in the verses before busting out a vicious mid-paced riff during the relentless chorus. "The Year of the Blizzard" is simply epic, the longest track here and a narrative journey through many styles and moods. The 70s rock influence is strong in this one, as is Amyar's beautiful clean singing.

I always attempt to refrain from doing track-by-track analyses, but boiling an album as great as Bury the Light down to its bare essentials is an extremely difficult task. "Castles in the Sky" reflects its title flawlessly, soaring to the heavens with unforgettable melodies and a penchant for boundless energy and adventure. Surprising, then, is the somewhat cynical nature of the lyrics. "The Spider's Thread" is a short but free form track of sorts, traveling in a story-like manner to new heights. It's moments like the arresting melody at 2:56 that cause me to call this band a pack of musical geniuses, and the reprise at the album's conclusion ties it all together. My absolute favorite track of the lot, however, is "Cry," one of the most straightforward here, managing to reach the emotional zenith of this masterwork at the same time. Damn, that chorus. "Cry! For what we could have been..." Sound like an Adele lyric? Ha, just listen, you unenlightened fool.

No, this isn't fucking Crimson Glory. Pharaoh isn't trying to be, and they never will be. Believe it or not, bands can be judged upon their own merits rather than being lumped into or trying to revitalize movements that have been dead for over twenty years. This band doesn't exist to emulate, and I think Pharaoh has proven that at last with Bury the Light by falling into a comfortable groove that can only be defined as a sound all their own. Asking if this album sounds too much like predecessor Be Gone would kind of be like asking if this gold looks too much like that gold; it's simply irrelevant and, if anything, yet another tribute to its pristine quality. It may be a microscopic hair short of that masterpiece, but that's it. The small circle of people who criticizes this band looking for things they won't find makes no sense to me. Put simply, it's heavy metal, and it's some of the finest material in this expansive genre's resume.

Not listening to this makes you stupid. Don't be stupid.

   Overall: 9.25/10 (Outstanding)

Unisonic - Ignition [2012 EP]

My attachment to golden era Helloween was perhaps one of the single most important developments in my youth as a growing metalhead. From the intro of "Ride the Sky" to the closing notes of "Keeper of the Seven Keys", rarely has a band given me so much joyous mileage as Helloween, and I think it's all right to say that no small amount of sentimental value has come along for the ride. I may not have lived through the tragedy myself, but you could probably predict my horror at the nightmarish descent into the musical abyss Kiske and company decided to take after such a flawless run of albums with travesties like Pink Bubbles Go Ape (sorry, I'll always hate it) and Chameleon. Michael Kiske had a lot of explaining to do, and it appears now that he's trying to make amends--and with Kai Hansen, no less. You can imagine my girlish squeal of joy at the though of such a reunion.

However, from the sound of their debut EP Ignition, Unisonic isn't about to unleash the followup to Keeper of the Seven Keys Pt. 2; and you know what? I'm perfectly okay with that. I came to terms with that the minute I pressed play and heard "Unisonic" for the first time. Suddenly, auditory power erupted, along with the highly hard rock influenced riff, and last but not least, Kiske let it loose over that groovin' verse. And so the chills began to descend my spine. This is what the metal world has been missing for the past two decades. It's an entirely simple track, arguably absentminded even, yet its absorbing power cannot be mistaken. Fuck, it destroys. Even as it treads dangerously close to Pink Cream 69 levels of glam-influenced cheese, "Unisonic" comes off as closer to early era Riot goodness: fun, not afraid to let loose and be casual, but completely serious about what it's doing at the same time. Perfect and infinitely enjoyable rock/metal music.

Carrying along in a similar manner, "My Sanctuary" changes things up a little bit. Slower and slightly more atmospheric than the opening barn-burner, the song mesmerizes with an emotive and unforgettable chorus while never truly approaching ballad status. Kiske is in great form, not really hitting his old high notes but finding a comfortable and ultimately satisfying middle ground. It's really just euphoric hearing his voice attached to a full-time metal (or rock, whatever) project again, giving the already spotless songwriting another touch of reinforcement. Really, this material is all about the great songwriting, reminding me of TNT's late 80s material. Straightforward, but stunningly elegant and catchy to boot. "Souls Alive" carries on in the same manner as its predecessor, and I don't think I'm crazy to believe I hear some Kamelot influence in that balladic section near the end.

The EP is capped off with a filler live version of "I Want Out," an obvious attempt to attach Unisonic to the Helloween name and show that Kiske can still come out and do what he was born to do. His performance here isn't quite perfect, but I'm still rather impressed. To be honest, I am trying to restrain my excitement and joy for this new outfit, but Ignition is making the task hard. I looked and looked, but I can't find one damn flaw (musically) here. The only problem with this release is that it'll be completely useless once the full-length is bestowed upon us, since all these tracks (save for the already useless live song) will be featured on that self-titled album. Therefore, its purchase is impractical and unnecessary (literally the only reason for my somewhat modest score). However, it has made me aware of an album I probably wouldn't have had the slightest expectations for previously. Thanks for ruining the surprise.

If you're expecting Keepers era Helloween, you're going to be sadly disappointed. However, if you're seeking a fun and exuberant time, it almost never gets better than this. We could have an Immortal Soul caliber comeback pretty soon, but I'm going to do myself a favor and try not to think about it too much. Oh, who am I kidding, I'll be counting the days.

   Overall: 7/10 (Cool - must...stifle...excitement...)

Abazagorath - s/t [2012 EP]

I've quite taken to the more experimental and progressive breed of black metal grown so rapidly in the past decade, worshiping bands like Enslaved and Klabautamann to no end. Such groups have evolved a genre not known for its technical courage to new heights of creativity and melody, increasing black metal's relevance in the present day. That doesn't mean, however, that a storm of bestial intensity can no longer enthrall the senses in our stuffy, elitist age of innovation equaling quality. Sometimes you just want a consistent torrent of sucker punches to the face, and in that light, Abazagorath has delivered in spades with their self-titled EP.

It would be fair to say that Abazagorath possesses a one-track mind, and luckily for us, that track is a mighty fine one replete with brutal yet catchy finesse. No screwing around is committed here. After a brief, subtle intro, "The Antigod" kicks it up a notch, blasting and pounding its way to the top with some melodic relief provided by the slower sections in between. In fact, this isn't just a voyage made by straight speed and aggression; the band expertly mixes in mid-paced riffs and patterns, making this swarm a bit more memorable and the tracks more distinguishable. Nihilist, if that is his real name, gives an appropriately tortured performance behind the microphone, and his vocal lines complement these tracks well. Sorry, weaklings: no clean vocals or ballads here. Heartbreaking, isn't it?

It's all cloaked in a modern (but not too shiny) production, so Abazagorath isn't exactly a second wave time capsule, not that it needs to be. The highlights are many, even for an EP. "Storms of Destruction" crawls from creation with a haunting and crafty intro, evoking the morbid resurrection of an ancient, evil spirit. The bludgeoning growls thrown in about halfway through only further such a vision as the subtle acoustics elucidate   it. "Lapse" is the shortest complete composition here, and it doesn't fail to make a stirring impression with its blazing rhythms. Out of the 23 sharp minutes offered here, I can't really fault one, even if I found "Immortals" to be the least toxic of the bunch; not bad, and it certainly congeals with its surroundings, but it's not quite as memorable as the others.

I won't comment on this EP's place in Abazagorath's discography, as I'm not familiar with the older work of the band, but I really can't see this release disappointing any fan of primal, no-BS black metal. At any rate, Abazagorath should be a clear indication of a band alive, well, and thriving after four years of silence. I might like my black metal stirred with psychedelia and weirdness, but who's to say I can't pour a smooth glass of well-executed, abrasive chaos every once in a while? It's simple, it's relatively straightforward, but it's also sick and easily replayable. What could be wrong with that? A full-length release of this caliber could make some serious waves. Sure to provide a necessary component to your secret cult meetings.

   Overall: 8/10 (Very Cool - Any more, please?)

Wall of the Eyeless - Through Emptiness [2011 DEMO]

One probably wouldn't guess at the sight of the mind-bending, abstract, and rather awesome cover art that a raw and heavy wall of death metal hid behind it. However, Wall of the Eyeless (kudos on the name) doesn't follow the 90s low-fi tribute wave that so many of these genre bands have been drifting effortlessly upon as of late. Through Emptiness is a fascinating and promising demo that isn't afraid to deliver some surprises and progressive elements; and while its general heaviness isn't to be questioned, this two-piece mixes the style up with free form structures and melodic flourishes.

Through Emptiness moves in mostly mid-paced and sometimes slower speeds, capturing an epic mood appropriate for the music herein. Alongside the more traditional riffs, the songs feature acoustic guitar galore, often focusing on passages of instrumental elegance rather than vocal-driven, pummeling rhythms. Some of the more droning and repetitive guitar parts would give off an essence of black metal if it were not for the deep, bellowing growls of SL, the talented head honcho here who also provides bass and guitar duties. The drums are par for the course: simplistic, but not distractingly so, and effective overall. Nothing here will blow your mind with overt technicality, but the band shows a flair for good songwriting and diverse influences.

With four tracks at twenty-four minutes, Through Emptiness would already make a fully functional EP even in its demonstrative state. I think a cleaner production may suit the lighter parts of this release, but that's not much of a fair criticism considering the fact that this is a demo, and a debut one at that. Personally, seeing a few more hooks and really memorable parts here would have been nice, because even though the group definitely provokes thought while listening, much of this demo will not haunt the memory for long. However, Wall of the Eyeless is still a vision of considerable promise that I'd like to hear more from.

   Overall: 7.25/10 (Cool)

Tuesday, February 21, 2012

Ecliptica - Journey Saturnine [2012]

I do have to give Ecliptica some credit. After looking at that band name, that vaguely (ahem) familiar logo, and even the somewhat flashy cover art, I think most would reach the same hypothesis as to what to expect here. However, Ecliptica throws an unexpected curveball; they are, in fact, not an exact copy of Sonata Arctica, as you no doubt noticed I was suggesting earlier. However, they don't completely escape the lull of humdrum genericism, either. Journey Saturnine is a (mostly) inoffensive, but entirely predictable and formulaic album.

For the most part, Ecliptica plays par for the course, safe power metal songs. This isn't the kind of PM with extreme, florid keyboards or speed, however, and frankly I'm not sure whether the band could handle such a style. There isn't exactly evidence of a plethora of unique talents showing through here, but that could simply be the result of just how restrained this material is. Nothing is particularly offensive about Journey Saturnine (apart from one abysmal song); it's just sort of... well, there. Too many midpaced clunkers with shoddy, simplistic riffs crowd the track-listing, and too few of the songs deviating from this repetitive scheme contain any convincing hooks to remember.

The most questionable department here is definitely the vocals. They're so hit or miss it's almost unbelievable. Thomas Tieber gives a decent effort without showing too much range, reminding me of Evergrey's vocalist in some respects. Apart from his average, clean performance, however, the other attempts fail on a sometimes humorously awful level. Some harsh vox are provided in a few tracks, and both their utilization and execution are awkward at best. The female singing is absolutely atrocious. I can't tell if their overt throatiness or tone of apathy are intentional, but I do know for sure that it's not working. Like, at all; maybe for a 70s blues band, but not Ecliptica.

The absolute nadir of Journey Saturnine comes in the form of "Without You," which basically redefines how low one can go with a power ballad: putrid vocals, coma-inducing melodies, and truly mind-numbing songwriting. If this track had come in the middle of the album, I honestly would have stopped listening to it entirely. It's that bad. As it stands though, this is just a slightly below average power metal album that will fade from memory shortly after listening to it. It's not bad to affront the senses, but I was in Ecliptica, I certainly wouldn't quit my day job just yet. Just try harder next time.

   Overall: 4.5/10 (Poor)

Lacuna Coil - Dark Adrenaline [2012]

You know, people really do amaze me. They amaze me in a variety of ways, in fact, especially in their acceptance of the absolute bare minimum. I've got a little story to tell; gather 'round the campfire children.

_________________
At the musical methadone clinic, sometime in January, 2012:

Mindless Consumer: "Total crap? Same thing as the product I bought last year? Zero effort or originality involved?! Hell yeah, sign me up!"

Head Record Company Executive: "All right, sir dumbass, just initial here and we'll give you your repackaged poison. No catch! Oh, but you will be giving up your hard-earned money, feeding a brain-sucking, industry-killing leech, and authorizing full utilization of your soul in the unseemly ways we see fit. Do we have a deal?"

Mindless Consumer: "Why wouldn't we? I might be legally deaf, but I would never be one to use discretion and actually give a shit about what I listen to. The stricter the structure of the song, the better. The poppier the chorus, the better. The more phoned in the song... well, you get the point. Just give me my fix, ma'an."

Head Record Company Executive: "Here you go, fresh from the lab: twelve carefully crafted pills of hollow, green-tinted, nonmetal glucose. Granted, they're all the same flavor, and once you've experienced one of them, you've had them all, but we'll generously give you twelve just to make you feel special. Once you're hooked and you're on your sugar rush, be sure to purchase your Lacunacoilium (TM) t-shirts, posters, dolls--ahem, action figures--and laptop/phone skins at the Century Media website. Act now and you'll get exactly what you would if wait for a couple weeks!"

Mindless Consumer: "But Satan, I'm a hardcore deviant sadist; what if twelve aren't enough to fulfill my degenerate fantasies?"

Head Record Company Executive: "Not to worry, dear playtoy! Buy the album at iTunes ('cause, I mean, why support one soulless corporation when you can support two?) and you'll get six bonus tracks and even a video. Losing all character and self-esteem has never come at such a low price! Or, if you're really hankerin' for a spankerin', try the box set edition on for size. It'll serve as a convenient carrying case for your over-produced, overly congruous capsules. Each one comes with a coupon for a free lobotomy, though I can see that you're already, um, well accounted for. Give it to a friend and make sure he uses it before sampling the product. Remember: everybody's doing it, so it must be okay."

Mindless Consumer: "That satisfies me... but wait, why does it explicitly say 'metal' here in the table of contents? 'Dark'? Ick. Scary words dissuade my mindless consumption."

Head Record Company Executive: "We at CM absolutely assure you that the metal factor at work here is only a facade, as is the entire dark image of the Lacunacoilium (TM) property. We have a teen audience, too; we think it's only fair that we give them their drug in a form that's easier for them to swallow. You know, one where they think they're a part of something real, something that'll make them feel cool. There's no need to feel liable to any surprises whatsoever. What you got last time is what you'll get this time, guaranteed: powerless female vocal syrup (because we're using her as a hip gimmick), an illusion of chemical heaviness in the nonexistent riffing section, tracks of nearly identical length, and a spiffy production so crystal clear, you'll swear it'll pop into the room with you. Uniformity has never been this accessibly pervasive!"

Mindless Consumer: "Okay, okay, I think everything's in order. Give me every bottle you got."

...And they all lived happily ever after until the new Kornium (TM) came out.
__________________

If my not-so-subtle rant just alluded you, then you're about to have a new favorite album. I never thought I'd sink low enough to write one of these juvenile 'false conversation' pieces, but Dark Adrenaline took my tolerance to a new level. I'm sorry, but when people (bless their imbecilic hearts) call uninspired dreck like this "incredible," "amazing," and most offensive of all, "heavy," it tends to get to me. It's shit soda pop. People will no doubt take issue with this write-up, and I even doubt it'll be accepted. Where's the musical description, some will say; what an arrogant, pompous ass, others will exclaim. To these comments I'll have only one response: 

I'll write a real review once Lacuna Coil actually puts out a new album.

C'est la vie.

   Overall: 1/10 (Coaster)

Tuesday, February 7, 2012

Amalgama - Мечта [2012]

Amalgama is one of those Russian power metal bands that you rarely hear of outside their native country, a type of group that you find incidentally while surfing the net for new music to listen to. Unlike three-fourths of the bands I've discovered in this manner, however, this one is actually good at what they do. This is an upbeat melodic power metal squadron armed to entertain with high-flying, surgical tactics.

What's so special about Amalgama? Technically, not much. They deliver simplistic rhythms and melodious leads typical of other better known genre outfits, with to-the-point songwriting and a penchant for tasty hooks. The difference here, however, is in the execution. There's this whimsical lightheartedness at play here, making the admittedly familiar proceedings much more interesting. Sure, as a result the album never really rivals the intensity or power of a Helloween record, but it keeps the energy level up enough as not to fall into dumb frills, either. The vocals should receive some attention, too; they keep the songs afloat with high register melody, stunningly clean while bearing a harsher edge during the more over the top segments. You almost forget they're in Russian until that one English chorus every Russian band seems inclined to have on its album ("Kings of Sky," ironically the best song on here and a stunningly catchy and energetic number in its own right).

I can't say I liked everything, however. The slower balladic moments on this disc don't work nearly as much as when the band's really rockin' out. Track four is good evidence of that, reminding me of an uninspired and cheesy Scorpions imitation more than anything else. Also, the contents tend to feel a bit bare, especially when considering that few sub-40 minute power metal albums have left much of an impact beyond their heyday in the 80s. In the end, Amalgama does create a fun and convincing enough record to give a spin or two when you're tired of your overbearing, fantasy-drenched "epic" metal tomes.

   Overall: 7.5/10 (Good)

Monday, February 6, 2012

Dissona - Dissona [2012]

Remember when I said Eumeria was the American metal band to watch? Well, I wouldn't quite ignore those guys yet, but for the time being, Dissona has stolen my immediate attention and the crown for modern progressive metal. A weathered entity already, this group has been traversing the past decade in the underground while making little impact. That ends with the release of Dissona, the band's first full-length release and a shining jewel of near perfect melodic music.

The band walks a fine line between outright technicality and subtle prog touches. This is mostly achieved through the excellent guitar-playing, alternating between heavy riffs and an intricacy always elegant. Acoustic sections are utilized here and there, adding a bit of melancholic beauty to the mix; the occasional solo isn't half bad, either. Some creative and quirky elements are thrown in as well, including (but not limited to) an interesting flamenco-influenced passage near the end of opening track "Inverted Swarm" and pretty much all of the circus-like "Eccentress," an absorbing song with a title indicative of its contents and one of my favorites on the entire album. Dissona knows how to go epic, too, utterly dumbfounding with the far-reaching and slowly flowing "Avella." No strict structures necessary, just seven minutes of freeform mastery.

Dream Theater this isn't, however. These guys don't rely on half-hour lectures of sleep-inducing boredom to get their point across. Instead, they opt for a more concise approach, striking a cohesive balance between unbridled creativity and memorable songwriting. I would be amiss not to stress how great the vocals are here. Dave Dubenic has this sort of thespian-like quality in his voice characteristic of early US power metal, adding a theatrical touch to the already mystique-driven music. They go a long way to help the tracks retain their impact and create these mesmerizing melodies that I never seem to tire of. Just see "Immersion" or the brief but unforgettable "Chrysalis" to see this man's impact on the overall sound. Sometime's he launches into straight death growls, a style that mixes best when juxtaposed with his soothing cleans. "Fawns" does just that, beginning with a somber opening before exploding into a crushing torrent of emotion.

I could go on and on talking about more of the perfectly executed subtleties on display here (like the rare female vocal line or electronic segment inserted at the just the right time), but what would be the point? I'd rather let the listener discover them for his or herself. Dissona has created one of the best American debuts in years and a triumph for independently released music, an album I've enjoyed well over a dozen times without growing tired of it in the slightest. It's a record that has just about everything I could ever hope for from a prog record without falling into the mildew-drenched prog cliches; and, as of the time of writing, it's all delivered by a virtually unknown outfit with a hundred copies in existence. A travesty. Why not a perfect score? Because I believe that maybe, just maybe, Dissona can make an even better record and really revolutionize this progressive metal thing that's been dwelling in its regressive rut of stagnancy for the past decade or so. This, however, is still essential.

Conclusion: Dissona is the biggest and best surprise of the young year so far. Buy it now and enjoy it while you still can.

   Overall: 9.25/10 (Outstanding)